scholarly journals Resenha crítica do livro Music, Analysis, Experience: New Perspectives in Musical Semiotics

Opus ◽  
2016 ◽  
Vol 22 (2) ◽  
pp. 569-580
Author(s):  
Bibiana Bragagnolo
Keyword(s):  
Music Analysis ◽  
Musical Semiotics

scholarly journals Boris Asafiev's intonatsia in the context of music theory of the 21st century

2018 ◽  
Vol 44 (2) ◽  
pp. 485-501
Author(s):  
Ildar Khannanov
Keyword(s):  
21St Century ◽  
Music Theory ◽  
Music Analysis ◽  
Musical Semiotics ◽  
Soviet Music

The term intonatsia has been used ubiquitously in Russian and Soviet music analysis and pedagogy since Boleslaw Yavorsky introduced it in 1908 and Boris Asafiev developed it into a universally applicable concept. It proved to be rather vague and complex because of the overwhelming range of meanings and polysemic etymology, considering that one may identify intonatsia not as a term but as a category. Today, this older term can acquire newer shades of meaning if placed in the context of latest achievements of music theory in the areas of musical semiotics, theories of topics, Satzmodelle and partimenti.

Communicative contract analysis: an approach to popular music analysis

2008 ◽  
Vol 13 (1) ◽  
pp. 41-50 ◽  
Author(s):  
Thomas Shave
Keyword(s):  
Popular Music ◽  
Theoretical Basis ◽  
Music Analysis ◽  
Musical Semiotics ◽  
Popular Music Analysis ◽  
Musical Forms

AbstractCommunicative contract analysis constructs an analytic methodology, taking musical semiotics as a theoretical basis, to look at the ways in which pieces of popular music define themselves generically, and how they make reference to other genres. By taking the different components of a sound as referential to parent genres or foreign genres, one can tease out these references in hybrid musical forms. The method is then applied to three contemporary works, The Kaiser Chiefs' Ruby, Hadouken!'s That Boy, That Girl and Bjork's Joga, and the pertinent issues raised in these works are discussed.

Music Analysis and Kinds of Hearing-As

2017 ◽  
Vol 4 (2) ◽  
pp. 233-242
Author(s):  
Joseph Dubiel
Keyword(s):  
Music Analysis

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

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